MAB

I am a little surprised only notations are used, is video considered inferior? The Paris Opera Ballet also have a Beriosoff staged version which can be viewed on an old video called, I think, Paris Dances Diaghilev.

Now that a couple of city blocks surrounding the Victoria Palace have been completely demolished, The Pavlova statue looks even more impressive with just the sky as backdrop from most angles and can be seen at a far greater distance than before. Sadly a massive modern monstrosity is to be built where characterful old buildings and streets once stood, and poor Pavlova will become a minor feature in the new brutal landscape planned for the Victoria area. Those with an interest should go to see her now.

With Dmitrichenko banged up for 10 years and Ivan Vasiliev on dubious terms with the company it will be interesting to see who they find for Spartacus, I wonder if they will ask Acosta.

The heat was almost unbearable and left me wondering if because it had actually been rather chilly in the rain yesterday, the Coliseum management thought they could save some money by turning the air-cooling off. What is the situation at the Opera House right now?

Am deeply concerned that Elena Glurdjidze isn't being cast as Medora.

First time I've seen the Coli packed to the rafters for ballet all year.

I can understand that: Maria Alexandrova is head and shoulders above the rest in terms of technique, personality and expressiveness. Had I not seen her in the role before I would have gone, but I have tickets for her in other roles where hopefully the productions will be better.

I'm afraid I avoid Zakharova's performances in the classics, though in modern works she can be very good. Her limited range of expressions and the murderous 6 o'clock extensions just don't do it for me. I also avoid the Bolshoi Swan Lake, though would have gone if Tsiskaridze had danced the Evil Genius (Rothbart). Just for the record I avoid the RB SL too, so I'm not Bolshoi bashing here.

I have a feeling the last Petrushka we saw in London was the Bolshoi VIkharev reconstruction in 2010 (?) with Ivan Vasiliev in the title role. I am less than happy that someone decided to turn to Isabelle Fokine, are there no notations of the wonderful Nicholas Beriosoff version that the company used to cherish?

At Covent Garden and in a gala programme I think, as for the date I'm not too sure, but some wonderful stats people post here and I'm sure someone will give you the exact date.

I first saw Wayfarer shortly after its premiere and the work was very much geared to Nureyev's technique and personality, Bejart always seemed to choreograph around the individuality of his dancers e.g. Jorge Donn and Suzanne Farrell who were in the company at the time he created this. One of my friends who never missed any of Nureyevs performances, spotted a some differences last night, but in my view it looked an entirely different work on Muntagirov even though the choreography is basically the same. Nureyev and Bortoluzzi were I believe the same age when they first danced this as both were in their early 30's. In later revivals Dowell (four years younger?) was outstanding in the second role. Berlanga is closer to Paolo Bortoluzzi, both in looks and build, being only a little taller and with a slightly more stream-lined physique, last night I found him quite uncannily like the original. As for Muntagirov, I think it is one of the best things he has ever done and I was so happy that the work hasn't aged and looks so fresh on another generation. Let's hope it keeps a place in the rep.

I've been moved down once, at a performance of the opera Castor and Pollux when I was asked where I was sitting on entering the lift, when I showed my balcony ticket it was promptly exchanged for one in the dress circle. I'm told it happens a lot, possibly because it is such a huge house to fill. Although I didn't see the Copelia, I'm reliably told the place was near empty and it doesn't take much thought to realize that flooding London with visiting ballet companies this year (at ROH and SW too remember) stretches finances a great deal and those like myself who try to get to all the visitors, have to be a bit selective.

Not a conspiracy, certainly not, but an anti Tsiskaridze claque emanating from Moscow certainly exists and certain UK critics are part of it. I have been a major fan of the Bolshoi for almost forty years and have done my best to read everything written about the company and in all those years I have never come across such orchestrated hostility against one particular dancer as I have read about Tsiskaridze.

I admire his chutzpah, agreeing to be interviewed by one of the critics who is part of the organized claque against him takes some courage, but as he sees his dancing days as numbered, perhaps the ensuing bad publicity doesn’t bother him. Publishing that particular picture of Filin looking unscathed after the attack does appear to endorse some of his remarks though.

I imagine Mr Crisp first saw Tsiskaridze as the Golden Slave when he danced it with the Kirov here in London. There is no contadiction in C.C.'s views it was a turnip when he first saw NT in it even though he clearly loved his performance, and he still thinks much the same singling out the surplus-to-requirements pas de deux. He is right on both counts.

I love the score for this and although I am a fan of the RB's version, I feel uncomfortable with the scene where the princess gets slapped about by one of the princes. Will be looking forward to this Bintley version.

Indeed, Ms Isobel Fokine has a lot to answer for!

As you have been rather rude about Tsiskaridze before, may I ask why you bothered to see someone you so very clearly detest? Other than being able to make peurile remarks about him on this forum that is. And by the way, I thought it was the rule to put a full name to a post that is overly critical, though perhaps you escape that rule by dint of your post being malicious rather than critical. As for the unprofessional corps members, sadly indiscipline is the Kremlin Ballet's hallmark which I've witnessed before when watching this company regardless of who was dancing.

I make no excuses for the fact that I worship Elena Glurjidze, she is very, very special with the two qualities I rate most highly in a dancer: beautiful line and natural musicality - the same qualities that set my beloved Margot apart from the crowd. I don't understand why she doesn't get opening nights either as for me she is the jewel in the ENB crown. Of the younger girls it is Ksenia Ovsyanick and Shiori Kase that I can see climbing the heights, glad they are both promoted, but yes I expected a meteoric rise for Ms Ovsyanick.

I enjoyed Tsiskaridze too, age has slowed him down a little but of course he was absolutely turbo charged in his youth, so can still whizz round a stage better than most. Loved his pirouette a la seconde, super fast and totally on the spot. It breaks my heart that we won't see him here with the Bolshoi particularly as Bayadere is one of his best roles. Will be back to see him again tonight.

Without mentioning names, a friend and I once booked to see our favourite in Moscow, but after having booked flights, hotel and visas, we heard the date of said favourite's performance had had to be changed due to a rehearsal in St Pete's the following morning. Could have been a disaster, but on hearing what had happened our dancer (at some inconvenience) changed back to the original date and caught the overnight train to St Pete's right after the performance. After all that stress we did however witness the performance of a lifetime. Moral of the story however is that best laid plans do go awry and most people wouldn't be as lucky as we were: often you must take what you get.

Originally Scheherazade was only being danced tonight and tomorrow with Tsiskaridze scheduled to dance both performances. It is only because of the change of programme that Scheherazade will be danced on Saturday.

Sounds more like tongue in mouth than tongue in cheek Anjuli The more of Ms Rojo's thoughts I read, the more I think she would be better imparting them to the 'celebrity' magazines: 'perks of the job' indeed!

Awful article, I can remember when the Standard used to have first rate arts coverage. It wasn't Rojo who was responsible for Muntagirov joining ENB - it was Wayne Eagling.

I'd like to see her dance with Yonah Acosta as they would match well height wise. Anton Lukovkin could be a good partner for her too.